Project Description: Indigenous cryptocurrency: Finance capital and the digital ghosts of empire explores how Indigenous peoples have subverted capitalism in the digital age by connecting to past traditions and goals for a sovereign future free from the constraining paternalism of the US government. Specifically, I surface ‘hidden’ digital histories and technological innovations by Indigenous peoples that helped to produce contemporary cryptocurrency (digital peer-to-peer currency). This includes discussion of reciprocity, gift economies, and community care and is marked by the integration of digital epistemologies, coding, cryptography, blockchain, hypertext, and multimedia. Indigenous cryptocurrency discursively addresses ‘ghosts’ of Indian/Federal treaties that haunt through contemporary dispossession of Indigenous peoples. It also can pay homage to financial goals set by ‘ghosts/spirits’ of Indigenous leaders in the 1800s. The research offers a reminder that there is much to learn about Indigenous digital finance as strings of racism, nationalism, poverty, financialization, and empire continue to tangle in Indigenous Country.
Project Description: As a means of discovering the gendered, raced, and sexualized geography of these Twitter campaigns, this project will map the cultural language of these hashtags by analyzing the ways in which they construct these identities. I argue that many of these campaigns position marginalized identities in an in-between space, one that is constantly vacillating between its hyper-awareness of racial and sexual difference and its erasure. By taking to Twitter to demand representation and inclusion, fans encourage media franchises such as Disney and Marvel to take on the queer project of resisting patriarchy, racism, and heteronormativity and promoting visibility. In this context, the use of digital and hashtag activism enables the possibility of creating community across disparate geographies and transnational locations.
Project Description: Marked combines traditional photographic techniques with contemporary digital processes, performance, and sculpture. The title refers to a prominent birthmark on my neck, which has drawn verbal and physical abuse from strangers. Reproductions of the birthmark's shape and color appear throughout the work. In Marked, I consider ways we are marked from birth, specifically through gender. Birthmarks are like political boundaries on a map, expressing the concomitant desire to include and exclude and mark belonging through exclusion and differentiation. The work explores the parallels between human attempts to control, shape, and extract from the land and the body. This is visualized through the demarcation of the birthmark to represent what is through what is not.